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Rag Kalyan (A.K.A. Yaman)

by David Courtney working tools

Ragmala Painting of Rag (Ragini) Yaman (Mushirabad 1765)
Ragmala Painting of Rag (Ragini) Yaman (Mushirabad 1765)

Description

This rag is known by several names; Kalyan, Iman, Eman, or Yaman.  Strangely enough, Yaman Kalyan is a different ragKalyan is very popular and some commonly known examples of songs in this rag are “Ansu Bhari Hai Jai Jivan Ki Rahen”, “Ja Re Badara Bairi Ja Re” and “Jiya Le Gayo Re Mora Sanvariaya”Yaman is a sampurna rag which is performed in the first part of the night.  The vadi is Ga and the samvadi is Ni.  Typically Sa and Pa are weak in the arohana.  However their omission is not obligatory.

Kalyan is a surprisingly flexible rag. It is normally used to convey romantic moods or moods of joy. Among the Sikhs, it is used extensively to convey a feeling of devotion (bhakti). The extreme flexibility of this rag was demonstrated when the music director Dattaram ably used Kalyan to convey a feeling of extreme sadness in “Ansu Bhari Hai nYe Jivan Rahe” in the 1958 film Parvarish.


Arohana

Ascending structure for Kalyan

(general discussion of arohana)(general discussion of notation)


Avarohana

Descending structure of Kalyan

(general discussion of avarohana)


Jati

Sampurna – Sampurna – (general discussion of jati)


Vadi

Ga – (general discussion of vadi)


Samvadi

Ni – (general discussion of samvadi)


Time

First part of the night – (general discussion of time and rag)


That

Kalyan That – (general discussion of that)


Drone

Sa – Pa (general discussion of drone)


See Also

Rag Yaman – An article published some years ago.


Popular Songs

Film songs in Rag Yaman (Kalyan)


For more information check out “Elementary North Indian Vocal: Vol 1” and “Elementary North Indian Vocal: Vol 2”



Selected Video



Other Sites of Interest

Indian Classical Music: Tuning and Ragas

Modes and Ragas: More Than just a Scale

Emotional responses to Hindustani Raga music: The role of mus­ical struc­ture

Automatic Raga Recognition in Hindustani Classical Music

Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice

Automatic Tonic Identification in In­dian Art Music: Approaches and Evaluation